RIZOMA

One of the advantages of focusing on positive and upbeat reviews is that many hitherto unknown artists take the plunge to send me a request to review their latest offering in the hope that they will get some tangible exposure, though my platforms are modest to say the least. And as per the norm of the progressive universe, there are always names that ring a bell (sometimes even a gong), as is the case for this fantastic and original combo from Mexico. Enter Luis Nasser, a smiling, very sympathetic and knowledgeable chap who happens to often guest on Pete Pardo's Sea of Tranquility web site, who also happens to be a wicked bass player with Sonus Umbra. Well, as a shameless bass fetishist par excellence, it took me a nano-second to bask in utter low-end glee when the first, clear as crystal and up-front bass notes came through my speakers, staying there all the way to the end. Oh my! Thrills galore. Luz de Riada are an experimental and original seasoned crew of talented musicians. Besides Nasser, Ramses Luna (of Cabezas de Cera fame) officiates on sax, flute, synth and vocals, Sergio Aldema on the drum kit and the pristine production is further elevated by sound master/engineer Edgar Arrellin. Many guests appear in cameo roles, to further heighten the highly cinematographic arrangements.

When any recording launches a cool bass riff, my spider senses awaken from any nonchalant inertia and immediately switch to gratification mode. "Auromboros" certainly sets the stage with some crafty sounds, turn on a peso twists and turns, odd noises, and scintillating creativity, that stretches the boundaries of prog convention. The ability to shift gears is seemingly fearless, courtesy of Pat Mastellotto (King Crimson) on the drums, leading to an exemplary opening salvo.

With "Entropia" there is a strong classic Gong feel (less the bubbly synths and the glissando guitar swells), where Luis channels his inner Mike Howlett /Hansford Rowe and I can easily envision him grinning mischievously as he is carving another feathered serpent furrow for the amigos to play in. Ramses has Didier Malherbe as a muse to an uncanny level, tossing in some Gilly/Daevid vocalizations and Sergio surely infused some Pierre Moerlen into his athletic playing. This is cosmic jazz with razor sharp playing and delirious imagery, as if the Mexican pyramid on Gong's "You" cover channeled together the Mayan culture with the Pot Head Pixies! Pure bliss and a killer track. The tricky "Raices" presents a thick and rubbery bass line that erects the sonic real estate to towering heights, a jazzy build-up that stuns the listener into submission, as the crew pile on the playful execution. Tim McCaskey shines on both acoustic and electric guitars, as the arrangement evolves into a thrilling workout that maintains the synergy. But that bass ?OMG!

Yup, the 4 stringed monster seizes the onset on "Atipica" with a clearly defined melody, a deliberate methodical build-up that demonstrates the rhythmic partnership with the incredible syncopation doled out by Sergio. Graceful transition into a parallel groove with a brief synthesizer flurry, and a spectral Spanish spoken word narration from Maria Lucia Dal Farra, straight out of a stage opera, with the hushed tones, quivering squeaks, and dense drama. Terrific piece of music.

How about some percussive boom-boom tchack to light the fuse under "Matanza de Chivos"? No problem, caballeros! The slaughter of goats is perhaps an altogether odd title, but the sonic butchery here is worthy of a world class surgeon, a body of work with sliced rhythmic sinews, various instruments cutting thick slabs of dense aural muscle, and a hard to the bone tempo that puts up quite the challenge. The segue is flawless with "Todos por La Banqueta", as the feast is now roasting juicily, perhaps the head used as a Jamaican soup made once famous by the Stones, infused with a wide variety of spices indigenous to the Mexican food culture. The pulsating chanting is hypnotic, the drums and percussion heavily in tow, the mood festive and carnivalesque. Enoc Jimenez delivers undulating guitars as Armando Palomas inserts some free-styling voice manoeuvres. With a title like "La Bestia" that needs no translation, the poor listener is slammed by a beastly set of ominous riffs, discombobulated sax blurting, tortured Jimenez axe outbursts and a merciless drum onslaught. The mood veers towards the insane, the synthesizers gone ballistic, impossible stops and possible starts galore, shifting winds and the kitchen sink to boot. The finale simmers like a fusion stew, tight like a tiger.

For all the farmers out there, "La Danza del Tlacololero" refers to the cultivation of the fields (as vegetables and fruits must also be discussed so as to be inclusive to all) and the dance is highly appropriately evoked. Imagine a huge stage where corn cobs waltz with red tomatoes, under the watchful eye of jalapeños, poblanos, chipotle and habaneros, each providing different levels of 'caliente'. Only the agave plants mind their own business, happy to remain at the bar with el Patron! An extraordinary track once again, with hypnotic colourations, bouncy bass, booming beats, and beguiling atmosphere.

Back to the shimmering suavity of "Nunoa", a breezier number with delicate bass phrasings, glittering flute and synthesizer work from Ramses and intricate percussive meditations. Luis takes over the spotlight and shifts the arrangement into a more cosmic realm, recalling perhaps the 'Isle of Everywhere' feel, as the relentless bass pounding muscles ahead with endless restraint, nevertheless. The reflective flute takes this deep into the night, as the sun sets on the mesa.

"1915" (General Obregon defeats Pancho Villa at the Battle of Celaya), features the incredible Mattias Olsson on the drums, in complete harmony with Luis' bellicose bass guitar, and a vast variety of spirals from the sax. The clash between the two musical warring sides parallels the storyline I guess, but it puts an end to all the hostilities with the peace of victory and defeat, holding hands in accepting reality. This was an absolute joyride from the very first note to the last and comes very highly recommended as surely one of the finest instrumental releases of 2024.

Muchas gracias, Rosy Sanchez, for reaching out to the Prog Rogue. Thank you, Luis, for being such an inspiration.

5 rootstalks. [email protected]